architecture-portfolio

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Jeypore Portfolio
Architectural Details
Part III Carved Doors
Prepared under the supervision of
Colonel S.S. Jacob, C.I.E.
Bombay staff corps: engineer to the Jeypore state. Assoc Institute of Civil Engineers. Hon Assoc Royal Institute of British Architects
Issued under the patronage of
His Highness Maharaja Sawai Madho Singh G.C.S.I. of Jeypore
London:
Bernard Quaritch.
Photo-Lithographed by W. Griggs and Sons Limited,
Hanover Street, Peckham.
1890
First of it’s kind.

Architecture students and graduates know that it’s not enough to simply do good work - half the challenge is communicating the work you do. The job search portfolio is probably one of our more stressful representational challenges. There’s a balance to strike between personality and professionalism, and you don’t want to wonder whether you didn’t send the message you intended.

In preparation for an upcoming work term I put together my first professional portfolio this summer and learned a few things along the way. I’m by no means an expert, but here are some of the things I’ve been told or complimented on thus far:

1. The cover is your first impression. You can go minimal, use elaborate patterns, or use a photo you’re particularly proud of, just know that it will say something about your style and interests. I chose a photo relevant to my interests in coastal architecture and repurposed materials, with colours I thought worked well together.

2. Resumes can come at the front or the back of your portfolio. In my case I paired it with a table of contents over a graphic which ties to the theme of my cover. The (lack of) colour here introduces the stark black and white scheme which I use throughout my portfolio.

3. When you get to your projects it helps to have a system. I first split my page spread into top and bottom, and then into three columns per page. This gave me some zones to work with. The three labelled above stayed the same on most of my pages while the others vary. Once you have a system you also learn how to break out of it - on some pages large images cross my guides, placing emphasis on them.

4. Think about print. If you ever plan to make physical copies of your portfolio there are a few things you should consider. First, standard sizes make for cheaper copies - mine is formatted for a letter sized page in landscape orientation. Second, printing to the edges of your page (full bleed) requires printing larger and cutting down. This can be costly and time-consuming, but can also be worth it. In my case I wanted to be able to make many copies, so I kept my graphics from the edges of the page (in most cases) and left room at the “spine” for binding.

In a few years I’m sure my portfolio will be very different than what you see here, both in content and style, but for now I’m very happy with it. Good luck!

External image

#32 Don’t be realistic.

Our minds have their way with us if we let them.  You have to allow yourself to forget what you “know” about architecture to begin learning how to think like an architect or designer.  Architecture school teaches you how to think more than anything else.  When you first get a project you may begin picturing the finished product in your head.  This might be an organic mixture of everything you believe to be “architecture” all put together.  Then you begin to make decisions based on these pre-concieved notion.  This can sometimes lead to getting yelled at for having a “flat base” or your model looking too much like a “HOME” in a simple spacial exercise.

Don’t worry, its not your fault.

But in order to truly grasp the concept of space-making and form, you must allow these pre-conceived notions to diminish to make room for creative application.  Don’t be realistic, you will have plenty of time for that later in your career.  For now, especially in the entry level position, try new things and get out of your confort zone!  Who knows, maybe you’ll like it.

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Once I had created the basic floor layout I could work more on the vegetation net that would envelop the structure. I started by creating a sketch model, again from thread and brass rods implanted into a solid piece of timber. I then began looking at how the construction details would match the aesthetic and decided to utilise steel cables held in tension upon which the vegetation would be laid out in horizontal tubes, acting as a counterpoint to the verticality of the tower. 

flickr

…..sequences & cadences da Gianluca Milella  ©

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Trying to show you my long section but it doesn’t fit very well on my easel! Ensuring you have both long and short sections of your design is vital in allowing other to understand to configuration of your spaces clearly, also always remember to include a small plan of the section cut on the drawing.

The section clearly shows how the building will sit, sunk down onto the river bed of the Tiber River in Rome. Although it rises up ten floors, its height is still equal to the architecture that encloses it on either side of the river, hiding its monolithic form but still giving enough space for the mist to rise up and over the roof tops. The mist itself will create a wet film on the surface of the structure, weathering it quickly as green mosses and lichens take hold among the red cabbage vegetation. 

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Ghostbusters 2016 Firehouse

Based off of the actual existing building & a whole lot of watching the DVD extras to get it as close as possible. I took liberties with the upstairs because we are never shown them; all of the bedrooms and furniture are sized correctly. These plans are not 100% screen accurate because the layout of the building shown in the film does not make logical sense when it comes to things like structure.

Done in AutoCAD then cleaned up in Photoshop and Illustrator.

I apologize for the watermarks but as this is going in my portfolio for Architecture graduate school I can’t have it getting stolen. If you’d like the unwatermarked version, message me and I will send it to you.

Feel free to use in your fanfics! :) Also feel free to reblog. :)

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I always find it useful, around half way through a design project, to return to your field trip photos or initial sources of inspiration. In the case of this project it was Zaha Hadid’s Maxxii Museum in Rome that became the perfect resource in developing my floor plans further into more fluid spaces that promoted movement within the architecture.